Goddess Lakshmi, also known as Shri, is personified not only as the goddess of fortune and wealth but also as an embodiment of loveliness, grace and charm. She is worshipped as a goddess who grants both worldly prosperity as well as liberation from the cycle of life and death.
Lore has it that Lakshmi arose out of the sea of milk, the primordial cosmic ocean, bearing a lotus in her hand. Each member of the divine triad- Brahma, Vishnu and Shiva (creator, preserver and destroyer respectively)- wanted to have her for himself. Shiva's claim was refused for he had already claimed the Moon, Brahma had Saraswati, so Vishnu claimed her and she was born and reborn as his consort during all of his ten incarnations.
The most striking feature of the iconography of Lakshmi is her persistent association with the lotus. The meaning of the lotus in relation to Shri-Lakshmi refers to purity and spiritual power. Rooted in the mud but blossoming above the water, completely uncontaminated by the mud, the lotus represents spiritual perfection and authority. Furthermore, the lotus seat is a common motif in Hindu and Buddhist iconography. The gods and goddesses, the Buddhas and Bodhisattvas, typically sit or stand upon a lotus, which suggests their spiritual authority. To be seated upon or to be otherwise associated with the lotus suggests that the being in question: god, Buddha, or human being-has transcended the limitations of the finite world (the mud of existence, as it were) and floats freely in a sphere of purity and spirituality. Shri-Lakshmi thus suggests more than the fertilizing powers of moist soil and the mysterious powers of growth. She suggests a perfection or state of refinement that! transcends the material world. She is associated not only with the royal authority but with also spiritual authority, and she combines royal and priestly powers in her presence. The lotus, and the goddess Lakshmi by association, represents the fully developed blossoming of organic life.
A few texts say that Lakshmi is the wife of Dharma. She and several other goddesses, all of whom are personifications of certain auspicious qualities, are said to have been given to Dharma in marriage. This association seems primarily to represent a thinly disguised "wedding" of Dharma (virtuous conduct) with Lakshmi (prosperity and well-being). The point of the association seems to be to teach that by performing Dharma one obtains prosperity.
The characteristic feature of this artwork is the elongation of figures, and the way they have been compressed within the narrow margins of the painting.
No description of Goddess Lakshmi can be complete without a mention of her traditionally accepted vehicle, the owl. Now, the owl (Ulooka in Sanskrit), is a bird that sleeps through the day and prowls through the night. In a humorous vein it is said that owing to its lethargic and dull nature the Goddess takes it for a ride! She is the handmaiden of those who know how to control it; how to make best use of her resources, like the Lord Vishnu. But those who blindly worship her are verily the owls or 'Ulookas'. The choice is ours: whether we wish to be Lord Vishnu or the 'Ulooka' in our association with Lakshmi. The owl can be seen in the lower right corner of the painting.
Broadly speaking folk art may be defined as the art created among groups that exist within the framework of existing society, but for geographical and cultural reasons, are largely separated from the sophisticated developments of their time. As a result, they produce distinctive styles and objects for local needs and tastes. The output of such art represents a unique complex of primitive impulses and traditional survivals. It is an art motivated by not only utilitarian and ritualistic features but also by individual and recreational impulses.
Hindu women who live in villages near the market town of Madhubani in northern India maintain old traditions and teach them to their daughters. Painting is one of the traditional skills that is passed down from generation to generation in the families of some of the women. They paint figures from nature and myth on household and village walls to mark the seasonal festivals of the religious year, for special events of the life-cycle, and when marriages are being arranged they prepare intricately designed wedding proposals. The artist many a times are simple housewives, who have never been to any school to learn the art of painting. Hence the spontaneity in their art.
The painters do not seek to place objects or figures in a natural relation to each other. The figures may float in a tranquil aqurium or fragile angels aginst an aery background, creating an aura of fantastic strangeness.
It is the colors that create the mood, determine the pulse and tempo, divide the space and provide the background.
The artist starts with a rigorously selected subject-matter, without any attempt to transpose a literal scene or create a photographic semblance of an ordinary situation. Simplification leads to added intensity. The aim is towards a general radiance.
The paper itself is handmade and treated with cowdung and the colours used are extracted from vegetables. People of Madhubani have their own language and a sense of regional identity that goes back more than 2500 years. Among the most celebrated figures believed to have been born in the region are Mahavira (a great spiritual hero of the Jain religion), Siddhartha Gautama (better known to the world as the Buddha), and Sita (the legendary wife of Prince Rama and herself a central figure in the world's epic the Ramayana).
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